In the fifth episode of Season 1 of "The Rehearsal," Nathan dives deep into his portrayal as a father. The episode kicks off with a father-son video production where "Doctor Adam" administers a peculiar "treatment" to Nathan—forcing him to consume what appears to be his "poop" (revealed later as a brownie). To Angela's dismay, this gross-out humor fails to amuse. She repeatedly uses this clip as ammunition against Nathan, insisting that, regardless of its unreality, the notion of consuming feces is deeply disturbing. Nathan, however, a master at blurring the boundaries between fiction and reality, dismisses her outrage, pondering why he should be bothered by a mere rehearsal. Perhaps this indifference explains his ongoing challenge in fully engaging emotionally with the rehearsal process. If it isn't "real," what's the fuss?
This clash serves as but one of the cracks forming in Nathan and Angela's increasingly tense relationship. When Nathan's parents visit, his mother identifies another point of contention. Being Jewish, the sight of Angela's Christian faith stands out starkly to her. She scolds Nathan for not raising Adam in the Jewish faith. Once again, Nathan finds himself puzzled by the significance attached to something not grounded in reality. Why should he care how he raises a fictional child? Yet, Nathan's mother reveals a deeper concern: she believes his accommodation to Angela mirrors a detrimental pattern from his past relationships.
Determined to assert himself, Nathan decides to confront the issue—initially, through a rehearsal involving a fake Angela. Just as in their rehearsed scenario, the real Angela remains unyielding. She insists that she will not raise a child to "deny Jesus."
Throughout much of the season, Angela has been opinionated yet relatively compliant, her tolerance for Nathan's presence concealed beneath a veneer of quiet restraint. However, these cracks in her composure are beginning to show. This becomes evident when the fake Angela, hired by Nathan as a nanny, inquiries about the real Angela's well-being amidst the rehearsals.
Angela hesitates, her brow furrowing in contemplation as she searches for a response. "Mm…" she trails off, her tone uncertain. My instinct tells me that's a reluctant "no." Later, when Nathan casually inquiries about her favorite movie, Angela responds without a second thought, "Apocalypto." She's an avid admirer of Mel Gibson, her enthusiasm unmistakable. However, when Nathan nonchalantly mentions having heard "bad stuff about Jews" said about the director, Angela's face contorts into a series of annoyed expressions, each more pronounced than the last. Yet, Nathan remains oblivious to the treacherous ground he's treading with Angela, proceeding to arrange for Adam to receive Judaism lessons behind her back, even hiring a tutor named Miriam.
A confrontation becomes inevitable when Miriam uncovers Nathan's deception and insists on speaking with Angela. Miriam confronts Angela, accusing her of denying Nathan a voice in their child's religious upbringing. Nathan contributes little to the discussion, merely echoing himself occasionally. Angela, unwavering in her belief, insists that Jesus is the only path, leaving no quarter for Judaism. Miriam rises to her feet, frustrated, declaring that she cannot reason with someone who harbors anti-Semitic sentiments.
Angela then turns her wrath on Nathan, claiming that peace reigned until he provoked this conflict. Abruptly changing the subject, as if this entire experience has been culminating in this moment for her, she bursts out that Nathan cannot be trusted. "He lies a lot," she declares to Miriam, her voice tinged with bitterness.
When stress mounts, Nathan retreats to his replica bar from the first episode, where he watches footage from their home. It's through these videos that he discovers Angela's absence during rehearsals in his absence. There are no homeschool lessons, no gardening, no dedication to her business. She speaks to Adam not as a mother to her son, but as a director to an actor, her tone devoid of warmth.
He yearns to confront her, yet finds himself compelled to first rehearse their impending encounter. However, this task is becoming increasingly arduous for him, as he begins to lose sight of which facet of his identity he ought to embody.
When Nathan inquiries of the faux Angela about her presence, she responds with belligerence, questioning whether she is a mere punchline to him. Her words escalate into a demand for him to cease speaking and an accusation of deceit. "If this were genuine," she asserts, "you would feel something. But you lack the very capacity to experience emotion."
"You never will," she declares with conviction.
Nathan pauses, seemingly touched by her words (yet most probably merely acting the part). "Alright," he responds, his tone laden with a pretense of resolution.
In their genuine conversation, Nathan questions Angela about her disregard for the rehearsal and her paradoxical attempts to manipulate his experiences during their encounters.
Angela confides that initially, she desired the entirety of it – from the cradle to the age of eighteen. Yet, she sees no conclusion in sight. Perhaps it is now a fortuitous time to bring this extraordinary experiment to its conclusion.
Thus, she gathers her belongings and prepares to depart, leaving Nathan with a sense of obligation to carry on with the rehearsal as a solitary parent. He confides in Adam that their mother has left, yet emphasizes that they, the two of them, remain an unbreakable bond of a family. "It was time to uphold the values that I believe in," he declares, "and honor those who paved the way before me. Life may not always grant us the power to select our paths, but we do possess the freedom to prepare ourselves for whatever lies ahead." This "winter," he and Adam embrace the festivities of Hanukkah alongside Miriam, painting a picturesque conclusion to their chapter, until the scene shifts to an intimate dialogue between Nathan and Miriam.
Miriam urges Nathan to voice his support for Israel in the contentious Israeli-Palestinian conflict, insisting that he must leverage his influence to portray the beauty of Israel. Nathan, much like his ambiguous stance with Angela, responds noncommittally.
